Adela Jušić, The Sniper, 2007

Memory Traces

65th International Short Film Days Oberhausen 2019

Which events remain in memory, which are forgotten, and how true and objective are such traces of the past? The videos presented juxtapose individual and collective memories. The artists’ personal perspectives on their social milieu combined with events from history and reshape memories. The private and the stories from family history are thus seen in the larger context of historical events.

Adnan Softić, Ground Control
Bosnia-Herzegovina/Germany, 1999–2009, 12:33 min., multilingual OV with Eng. ST

In 1999, Adnan Softić, who grew up in Bosnia, created a fictive documentary about the supposed political crimes of his father and the complicity of his mother. Ten years later, he added an epilogue to that material in which relates his own ability to think up stories to the war past of his country and a historiography shaped by nationalistic propaganda.

Robert Cahen, Juste le temps
France, 1983, 12:40 min.

Two travelers on a train: a sleeping woman and a wandering man, whose relationship cannot be clarified. The passing landscape becomes the link between dreams, associations, and memories; deceleration and acceleration meet on the train trip and provide the impulse to let the landscape dissolve into abstracting patterns.

Madelon Hooykaas and Elsa Stansfield, Re:location
Netherlands, 1999, 15:47 min.

Stones, minerals, geological formations, prehistorical finds, but also modern photographs store the memory of events. The film encourages contemplative study of the artifacts and raises questions about how the “settlement” (relocation) of objects in museums creates other perceptual contexts.

Adela Jušić, The Sniper
Bosnia-Herzegovina, 2007, 4 min., English

This cinematic portrait of the artist’s father starts out from a photograph taken during the siege of Sarajevo during the Bosnian Civil War. As a sharpshooter, her father kept a diary about how many enemy soldiers he shot each day. The personal history of Adela Jušić, whose father himself was ultimately the victim of a sniper, turns us into the concerned witnesses of a conflict in which it seems unimportant who was really fighting on which side.

Doplgenger (Isidora Ilić and Boško Prostran, BENEATH A STARLESS SKY AS DARK AND THICK AS INK
Serbia, 2015, 15:20 min., Serbian with Eng. ST

The Belgrade duo of artists Doplgenger alludes to Émile Zola’s novel Germinal of 1885, whose plot is situated in a miners’ milieu. Doplgenger takes up the theme of the migrant labor that brought numerous “guest workers” from what was then Yugoslavia to Western Europe in the 1960s. The video revolves around a fictive society in 2115 that hopes to gain insights for his own development from archival reports of Yugoslavian television.

Ähnliche Veranstaltungen